The motto of the ‘project of verisimilitude’: There is no ‘ultimate’.
As narrative elements, villains and pillow talk scenes don’t intersect a ton.
Derridean deconstruction is Hegelian (Fichtian) synthesis as a happy little one-night-stand instead of a stormy marriage that begets still more stormy marriages.
Hegel’s ‘geist’ = Discourse
Phenomenology of Spirit = Hegel’s discourse on his own perception, as he made explicit to himself (if not to everyone else)
Was he writing that way because he thought it was important to write about himself to himself, as himself?
The Attack of the Platonic Realm of Forms!
For Westworld‘s ‘Hosts’, what is the difference between a ‘lived’ experience–say, an interaction with a guest–and an implanted memory? Is the situation analogous to our own experiences of the world versus our experiences of media? Though, unlike the Hosts, we might consciously remember a certain experience of media as an experience of media, the choice of ‘experience’ in the noun phrase is equally meaningful. For fully immersive media, such as we might consider Westworld to its guests (virtual reality, of a kind), all the sensory details are there, no matter how synthetic they may be. In a movie theater, sight and sound are the focus, while the rest of the environment is darkened for better effect. And we love that. Especially in 3-D. But, for less immersive media, the rest of the environment is remembered in the experience only insofar as we ourselves pay attention to it. I can listen to a particular radio play, for instance, over and over again in a thousand different locations. I’ll know that story back to front, but will I remember every experience of it, everywhere I experienced it? Should I even be able to in justifiably valuing that overall experience of that story?
Is The Purge an example of the Bakhtinian carnivalesque?